Curiosity: The Key to Maximal Learning

Curiosity: The Key to Maximal Learning

This is the fourth post of a series on Individuality. Read the firstsecond, and third article.

 

What is the best way to learn? What is the precondition that ensures a learner gets the most out of whatever it is that she is learning?

 

Great classroom, inspiring teacher, well-written textbook, tools, and interactive software—they all assist learning. But these things are external; they belong to the environment. Is it surprising that the key to maximal learning needs to be internal, something that comes from inside the person?

 

The key to maximal learning is one simple thing: the will to learn. You will learn the most when you want to learn.

 

Curiosity, self-will, the drive to ask, to think, and to do is under appreciated. Yes, it’s talked about in motivational articles and books, but it is still treated as an extracurricular subject. It’s nice to have, but you don’t have to have it to survive. There’s not much program on how to train someone to be curious, especially for adults.

 

We were all curious when we were kids. It was so natural; we went after what we were curious about without much thought. But the growth to adulthood often does not sustain this pattern. I think it’s safe to say that many adults stop learning and being curious at some point.

 

How did we lose curiosity and how to get it back?

 

How to Kill Curiosity

 

Most people associate learning with school; school with the dread of endless classes, assignments, and exams, all of which are imposed upon them. Someone else told them they had to learn. The Pew Research Center in 2015 reported a reading survey that 28% of Americans did not read a book, in whole or in part, in the previous year. When broken down by age, the older people were, the less they read.

 

For most of someone’s first three decades of life, he goes through imposed learning. By this I mean that a set lesson has been prepared for the person and he simply goes through the program step by step. This structure can bring a lot of good, encouraging discipline and systematic learning. It also introduces the person to various subjects before he could develop his own interests. But the weakness in this general system is not in what it commits, but in what it omits.

 

Amidst the abundance of exams and standardized tests, it’s easy to forget to ask the question, what is it that the person wants to learn? How can we encourage him to continue to learn after all schooling is done?

 

The object of education is to prepare the young to educate themselves throughout their lives. Robert M. Hutchins

 

When learning is 100% imposed, a person is on the receiving end of someone else’s will and thought, with no account of his own will. If there is no space to exercise his own curiosity and self-will, is it really a wonder that he grows up into an adult with no motivation for learning? If the curiosity muscle doesn’t get exercised, it will atrophy.

 

Theoretical vs. Practical Knowledge

 

The general arc of our formal education goes from theoretical to practical. Learn the theories first on paper, then go out to practice them years later. The problem is that this gap takes a long time. Some never practice their knowledge until they’re in their twenties. They swim in theories without knowing what they are for; ever heard students say, “Why am I learning this for? I will never use this in my entire life!” By the time they get thrown into real life situations, they would have forgotten the important key lessons and they don’t know what to do.

 

What is missing is the synthesis of all the subjects they have learned in school. How does history connect to math and to the arts and to science? Why as a student in this age do I have to learn all these things? I don’t believe we spend enough time answering these types of synthesis questions.

 

Yet there may be an easier approach to address issues that stem from a theoretically overloaded learning system: practical knowledge.

 

In any class, the practical aspect of knowledge—how does a lesson apply to real life—is always the most interesting part of learning. So why not integrate this as part of the curriculum, not as an occasional insert to the classroom, but as the engine of learning.

 

When the connection between theories and practice happens, two things take place. First, you find out how the theories apply to real life. Oh, that’s what they mean by that. Second, you find out that not everything works like they do on paper, and they are called to make decisions and judgment based on wisdom and character, not just their intellect. This is about practical knowledge, the street know-how to handle what you don’t know, and to exist, live, and work as a full human being.

 

Individuality: An Engine for Learning

 

Exposing students face to face with real life problems would increase the likelihood of someone finding something that incites his interest. Inspiration, instead of lethargy, is more likely. It’s helping them find a personal connection to what they are learning, the birth of their individualities.

 

This feeding to the inner life of a student is the key to breeding self-learners who are motivated to contribute to society.

 

How do we train people who can identify with a problem and seek out the skills needed to solve that problem? How do we empower them and make them believe that they can learn and discover by themselves? If we could teach self-learning, the skill will be an asset that keeps compounding for the rest of the students’ lives.

 

The beauty of falling in love with a problem is that the multidisciplinary synthesis we struggle with in the classroom gets addressed naturally, because not one real life problem deals only with one particular subject. At the very least, it requires you to deal with other people, which automatically necessitate communication skills and empathy.

 

The key point is this: we should use our individuality as an engine for learning. Find what we’re interested in, and learn everything that interest touches. This is even more important when we’re out of school, now that no one’s telling us to study. If we were to grow, then we must exercise our own curiosity and self-will.

 

The good news is that we live in a century in which the democratization of learning is a reality. In the age of the Internet and open source learning, there is nothing that cannot be learned from books and online resources. Experts are a tweet away or an email away, and the 21st century rewards those who are generous with their expertise.

 

Don’t wait. Ask questions, find out what you’re curious about, and pursue it.

 

Education is not preparation for life; education is life itself. John Dewey

 

 

Hamilton: How Genius Work Happens

Hamilton: How Genius Work Happens

Hamilton: The Revolution is the third post in a series on Individuality. Read the first and second.

 

We hold these truths to be self-evident, that all men are created equal. If you hear someone saying these famed words with a beat, then you’ve come across someone who has been bitten by the Hamilton bug. I’m talking about Hamilton, the Broadway musical that is making waves in the theatre world with ripples in contemporary American culture.

 

As someone whose day job is as far away as it can be from the Arts, I am immensely fascinated by the artist’s mind. How do artists create? How do they think? What thought process occurs when they work? What is it like to operate with the right brain in dominance?

 

These questions, of course, are decidedly left-brained, which, I suspect, miss the whole essence of artistic endeavors. It seems to me that the Arts involve more nonlinear processes, merging divergent thoughts and feelings that may at some point converge into a masterpiece. The actual work from the blank canvas to a painting may take a short time, but the process of creation has likely started long before that moment of inspiration.

 

Which is why I’m crazy about one of my latest reads, Hamilton: The Revolution by Lin-Manuel Miranda and Jeremy McCarter, that unveils a little of the creative process, the story of how this revolutionary Broadway musical came about. There’s a marvelous story of individuality here.

 

Individuality: An Asset in Creative Endeavors

 

Hamilton is about the life of Alexander Hamilton, the guy on the $10 bill (of which I was completely ignorant before this musical), one of the Founding Fathers of the United States and the first Secretary of the Treasury. It traces his life during the American Revolution and the early years of the nation, to his death.

 

Sounds like a bland historical statement? Yes. But, Hamilton is anything but boring.

 

Lin-Manuel Miranda, the writer and creator of the musical, said in an interview, “We take it as a given that hip-hop music is the music of the revolution.” That’s right. This is a hip-hop musical, a sound that is not typical Broadway. It’s fast-paced, energetic, delivering high words-per-minute density that covers vast amount of information in mere minutes. Cabinet debates are performed as rap battles, with contemporary language that makes these idealized Founding Fathers accessible to the 21st century audience.

 

“This is my brain and unless I express it, it’s only going to stay in my brain. It’s more about personal expression than imposing a will on the world. It’s more about…if I don’t get this idea out of my head and on to paper, it dies with me.” – Lin-Manuel Miranda

 

Lin-Manuel is a master wordsmith. There are 4 dozens of songs in this musical, much more than typical Broadway shows, and he wrote them all. I love the story of how it began, how he connected Founding Father to hip-hop.

 

About to go on vacation in 2008 from his first musical, In the Heights, he picked up Ron Chernow’s doorstopper book, the biography of Alexander Hamilton. (What kind of person does that? A nerd. Read about Lin’s relationship with books here.) Within a few chapters, something clicked in his mind: this was a hip-hop story. Needless to say, not very many could make this kind of connection! Hamilton, an outsider, an immigrant, wrote his way out of his doomed life in the Caribbean, rose with ambition through his skills with words, and helped build the country. This connection was so obvious to him that he Googled whether anyone had done a musical on Hamilton. (That would be a no.)

 

As I went through the creation story in the book, it became abundantly clear that Lin was probably the only person on the planet whose brain could birth this breakthrough musical. The marriage of an avid reader, history learner, writer, hip-hop connoisseur, rapper, freestyler, and musical buff in his personhood, plus the friends who collaborated with him, are what made this possible. If that’s not a story of individuality, I don’t know what is.

 

Lin said something profound about individuality in the last 1 minute of this interview.

The book Hamilton: The Revolution traverses the 7 years between Lin’s first moments of inspiration in 2008 to the show opening on Broadway in August 2015. It tells the stories of how the songs came about and what inspired them. The complete libretto is reproduced here (on gorgeous papers) with Lin’s annotations, plus snapshots of his notebook pages when he first wrote the lyrics. In other words, it’s a little peek into his brilliant mind. It also tells the stories of the many collaborators that built the masterpiece, that even though Lin’s name has the strongest association with the musical, the revolution did not happen just because of one person.

 

Need more reasons to read Hamilton: The Revolution? Keep reading.

 

Lessons on History

 

The biggest reason why I love this book is because of its profound insights on history. It does not treat history as a list of facts, but as stories. Stories of people, real people with real ambitions, emotions, and flaws. The Revolution here is meant to refer both to the American Revolution of the 18th century and the show itself, “a musical that changes the way that Broadway sounds, that alters who gets to tell the story of our founding.”

 

The book touches upon the fallacies through which we see history, how in hindsight revolutions may look obvious and inevitable, but in fact at the moment, they were “unprecedented and all but impossible to imagine ahead of time.” It’s hindsight bias. There’s also our faulty memory and how unreliable it is in reproducing sequence of events, something they experienced in putting this book together. If we couldn’t keep our recent facts right, how are we expecting something from 240 years ago to be entirely solid.

 

The book is a precious record of the experiences of the artists today as they are living through them. It is contemporary, and thus can capture thoughts and feelings more accurately. We know how hard it is to piece together something from the past, to capture the atmosphere and essence of the events, even in the presence of evidence. In a way, this book too is a piece of history.

 

Lessons on Collaborations

 

Even though Lin wrote the musical, the creation of Hamilton involved many bright minds. Genius work is often a collaborative effort. My favorite story is of Alex Lacamoire who was in charge of orchestrating the music, tweaking each part of the 10-person band to get the music exactly right and tell the story as best as they can. I’ve been listening to the cast album for a few days now, and I am simply blown away by the incredibly layered composition of the music.

 

There was also the stage director, stressing over little details to reproduce 18th century New York. These are things that the audience may never notice, but contribute to the feel and atmosphere of the stage, which help the actors get into their stories more.

 

With each piece, the revolution becomes less of a mythical story into a story of community, of hard work, and of ingenuity. There are iterations, false starts, and revelatory moments. But most of all, it’s a composite of individuals, with distinct individuality and gifts, pushing for something that has never been done before.

 

Quoting Lin in the video above:

“I think that’s what we do as artists. What’s the thing that only I can contribute? It’s not about the confidence to like, “Hello, world, here is this idea that never existed.” It’s… This is my brain and unless I express it, it’s only going to stay in my brain. It’s more about personal expression than imposing a will on the world. It’s more about…if I don’t get this idea out of my head and on to paper, it dies with me.” – Lin Manuel Miranda

 

Previous posts in this series on Individuality:

Individuality: What Makes You, You

Individuality and Creativity: A Christian Perspective

See also this NYT article: Why ‘Hamilton’ Has Heat

 

Individuality and Creativity: A Christian Perspective

Individuality and Creativity: A Christian Perspective

This is the second post in an article series on individuality. Read the first here. This post is for those curious about what individuality means in the Judeo-Christian perspective, even if you don’t subscribe to it.

 

“That’s so him.” “Totally something she’d do!” “Who would’ve thought of that?!” These acknowledgements of individuality—what makes you, you—are not foreign to us. The existence of individuality in the human experience is indisputable.

 

Where does our individuality come from?

 

Well, this is a worldview question, with answers as numerous as the beliefs that exist on Earth. This post is specifically about the Judeo-Christian perspective and its regard of mankind and individuality. Though you may not subscribe to it, I’m inviting you to empathize and gain an understanding of how those that do see individuality from their point of view.

 

Mankind as An Image of the Divine

 

In the Judeo-Christian worldview, a person’s individuality is anchored to the very subject the whole religious system is about: God. The subject of individuality is front and center in the grand opening of its sacred text.

 

Creation, the beginning of the world, opens the Hebrew Bible in the first chapter of Genesis. It’s a much-debated chapter, but let’s set debates aside for a moment and consider the text through the lens of creativity, to see the narrative in the light of a creative process.

 

“In the beginning, God created the heavens and the earth,” it begins. The chapter narrates the creation of the world in six days, which builds up to the creation of mankind in the sixth. The text says,

 

Then God said, ‘Let Us make man in Our image, according to Our likeness; let them have dominion over the fish of the sea, over the birds of the air, and over the cattle, over all the earth and over every creeping thing that creeps on the earth.’ So God created man in His own image; in the image of God He created him; male and female He created them.”

 

Mankind is patterned according to God’s image, which is intriguing, because God prohibits the making of images, explicitly stated in the Ten Commandments. Other biblical stories show that mankind is in danger of carving a rock, assembling wood, or creating buildings, even if they were initially made for God, and worshipping these things instead of God. The biblical prophets write against this over and over again. There was to be no idol worshipped in place of Him, because no one thing can adequately represent the fullness of His character and glory. Nothing is big enough to fully represent who He is. But, in mankind there is an exception.

 

In the collection of essays Moral Grandeur and Spiritual Audacity, rabbi Abraham J. Heschel writes,

 

“And yet there is something in the world that the Bible does regard as a symbol of God. It is not a temple or a tree, it is not a statue or a star. The one symbol of God is man, every man. God Himself created man in His image.”

 

A person, a human being, is viewed with very high regard, because he is an image of the divine.

 

“Human life is holy, holier even than the Scrolls of the Torah. Its holiness is not man’s achievement; it is a gift of God rather than something attained through merit. Man must therefore be treated with the honor due to a likeness representing the King of Kings.“

 

This image of the divine is not limited to one person, group, or nation. It is present in every single person.

 

“…not one man or one particular nation but all men and all nations are endowed with the likeness of God… the divine likeness is something all men share.”

 

This foundation is also the Judeo-Christian basis of the equality of all men, the anchor of justice and how we ought to treat one another.

 

“This is a conception of far-reaching importance to biblical piety. What it implies can hardly be summarized. Reverence for God is shown in our reverence for man. The fear you must feel of offending or hurting a human being must be as ultimate as your fear of God. An act of violence is an act of desecration. To be arrogant toward man is to be blasphemous toward God.”

 

Power to Think and to Do

 

The concept mankind being an image of the divine is rich with meaning. One aspect of this is the capability to create, which is demonstrated by the Creator Himself. It is the capability to invent, to see beyond what is into what could be, and to work towards that destination one step at a time.

 

In the book Education, Ellen White writes:

 

“Every human being, created in the image of God, is endowed with a power akin to that of the Creator—individuality, power to think and to do.”

 

The power to think and transform that thought into reality is the most baffling and fascinating trait of humanity. It mirrors the divine pattern as told in the Creation narrative.

 

Then God said, ‘Let there be light’; and there was light. And God saw the light, that it was good; and God divided the light from the darkness. God called the light Day, and the darkness He called Night. So the evening and the morning were the first day.”

 

First there’s a thought, then words. The words become reality. And God sees what happens and calls it good. Finally, He names what He has just made. What is this if not the core of a creative process?

 

White continues,

 

“The men in whom this power is developed are the men who bear responsibilities, who are leaders in enterprise, and who influence character. It is the work of true education to develop this power, to train the youth to be thinkers, and not mere reflectors of other men’s thought. Instead of confining their study to that which men have said or written, let students be directed to the sources of truth, to the vast fields opened for research in nature and revelation. Let them contemplate the great facts of duty and destiny, and the mind will expand and strengthen. Instead of educated weaklings, institutions of learning may send forth men strong to think and to act, men who are masters and not slaves of circumstances, men who possess breadth of mind, clearness of thought, and the courage of their convictions.”

 

Those we admire, leaders of the world, makers and changers of society, display this power of individuality—to think and to act. They are thinkers for themselves, not reflectors of other people’s thoughts. They are masters of their circumstances.

 

creativity

 

Individuality and Creativity

 

In the last post, I emphasized that individuality is an asset in creative processes, in works that have no set to-do instructions, in the making of something new (as opposed to imitating an existing creation). Where there’s no other guide, individuality, your power to think and to do, is your only resource. Indeed, it is in these types of original work that individuality shines forth the most.

 

Consider this. When God chose to write His opening act, His first introduction to the world, His grand entrance, His chance for a first impression in the first chapter of the Bible, He chose a creative story, a narrative of Him engaging in creative work.

 

In that first chapter, God is the sole agent, the ultimate actor, and the decision maker. He stares at His blank canvas, a void and shapeless world, and He begins that journey of creating something new.

 

I wonder if this creative process is also a discovery, something like the times when we engage in creative endeavors and surprise ourselves at what comes out. Maybe there’s an elevated, divine version of this, because at the end of each creation day, God sees what He has done, pausing for a moment of reflection, evaluation, consideration, and says that it is good. It is almost as if He doesn’t completely know if it would turn out good, at least not as predictable as mass printing labels from a manufacturing process. The artist sees and is satisfied with what He has carved that day.

 

It is easy to take stories like these for granted, to miss the essence and mystery of the creative process. We take it for granted because when we read stories of how inventors create, we already see the results. Thus we think it’s inevitable, a classic case of hindsight bias. Of course the plane should look that way, it’s obvious! Whereas if we put ourselves in the shoes of the Wright brothers, going forward in time, experimenting and trying out designs, the final product could have taken a different shape amidst the thousands of decisions they had to make.

 

We already know how important the sun is when we read the fourth day of creation. The trees are already outside our windows when we read about the third day, so it does not occur to us that trees did not really have to work that way. Things didn’t have to work the way they do now, because the creator started with a blank canvas. Someone decided where to put the stars, the waters, the sky, and the eyes. They were design decisions, made by an individual with thoughts and intent, with power to accomplish them.

 

Most importantly, there was freedom. God had full freedom to choose how He would shape the world among numerous options. He could have chosen a million other combinations, just like a writer could start his book a thousand different ways, a painter beginning with a thousand different strokes. The shape that we see at the end is the culmination of a nonlinear process, the artist’s individuality, mind and heart at work, which is all hidden in that final painting.

 

It is no small matter that God’s grand entrance—a story of His creativity—is also humanity’s most baffling trait. Stories of human creativity and inventions inspire us. The creators of the world, the change-makers, are those who know how to mine their individuality.

 

Experiencing Creation

 

If mankind is made in God’s image, and the first thing He wants us to know about Himself is His creativity, then it must mean that He wants us to employ our individuality and creativity to its fullest measure. Could it be that in engaging in a creative process, we are mirroring divinity? Anyone who has engaged in creating something must know the magical wonder stored within the process, from inspiration to fruition. Could it be that Genesis 1 is an invitation for us to write our own creation stories?

 

Want more? See also Individuality: What Makes You, You, how genius work happens, and how to use individuality as the engine of learning.